ANIMALS OF THE WORLD
DRAWING ANIMALS
I’ve always been fascinated by animals, and I’ve spent many hours at the zoo with my sketch pad, studying their movements, their body structures, and their coat textures. Because pencil is such a versatile tool, I can easily sketch a rough-coated goat or finely stroke a smooth-haired deer. Of course, you don’t have to go to the zoo to find models; try copying the drawings here, or find a wildlife book for reference, and draw the animals that appeal to you.
Studying the Head When drawing the head, I paid special attention to the giraffe’s most distinctive features. I emphasized the narrow, tapered muzzle and the heavy lidded eyes, adding long, curved eyelashes. To make sure the knobbed horns didn’t look pasted on, I drew them as a continuous line from the forehead, curving back where they attach to the head.
Working Out the Structure To draw the full body, I had to make sure the proportions are correct. I began by placing circles for the midriff, shoulders, withers, and haunches. Then I used the body width as a guide for the other parts: the neck (from shoulder to head) and the legs are all about the same length as the body is wide, and the head is roughly a third as long.
Developing Markings I started drawing this trio by sketching and refining their general shapes and then outlining the markings with a sharp-pointed HB. Then I shaded in the spots with a round-tip HB, making my strokes darker in the shadow areas, both on the spots and between them.
MAKING YOUR SUBJECT UNIQUE
Before I begin drawing any animal subject, I ask myself what it is that makes that animal distinct from all others. For example, sheep, horses, and giraffes all have hooves and a similar body structure, but a bighorn sheep has curled horns and a shaggy coat, a horse has a smooth coat and a single-toe hoof, and a giraffe has an elongated neck and legs and boldly patterned markings. Focusing on these distinguishing characteristics will make your drawings believable and lifelike.
Depicting Hair To show the texture of this bighorn’s coat, I used the point of a 2B. I applied long, wavy strokes on the body, and drew short, wispy tendrils on the legs and underbelly.
Creating a Portrait To capture this horse’s likeness, I focused on its features: the large nostril, wide eye, pointed ears, and strong cheekbone all distinguish this horse from, say, the sheep on the left or the giraffe on the opposite page. I used a sharp-pointed pencil for the outline and details, and the flat side of the lead for shadows. Then I went back over the shading with the point to accentuate the underlying muscles. Leaving large areas of white suggests a smooth, glossy coat.
Showing Action I often draw from pictures of animals so I can study their movements frozen by the camera. Here I focused on the sharp angles of the legs and feet, and suggested the underlying muscles by varying the direction of my strokes.
Focusing on Feet Horses have solid, single-toed hooves, whereas giraffes, sheep, and other ruminants have split (cloven) hooves. Notice that the horse’s hoof is angled a little more than the giraffe’s and that the giraffe’s toes are not perfectly symmetrical.
DRAWING FROM PHOTOGRAPHS
Photographs are wonderful references for drawings of animals. When you take the photos yourself, try to catch a motion or pose that is characteristic of the animal, such as the position of a cheetah just before it pounces or the stretch of a spider monkey in mid-swing. Always be prepared to take a snapshot at any time and take several different shots of the same subject; it is challenging to capture the animal’s personality on disk or film, but it is well worth the wait!
When you are ready to begin drawing, look over all your photographs and choose the one you like best, but don’t feel restricted to using only one reference source. You may decide you like the facial expression in one photo but the body pose in another; you may even have other references for background elements you’d like to include. Use them all! Combine your references any way you choose, altering the scene to suit yourself. This is referred to as “taking artistic license,” and it’s one of the most important “tools” artists have at their disposal.
Copying a Portrait This drawing was based on the photo reference shown above. It captured the proud, strong expression and physical characteristics so typical of mature male gorillas. Because the photo was so clear, the drawing follows it faithfully.
Combining References These two photos were used for the drawing below. The photo of a polar bear walking clearly shows the animal’s shape and proportions. But the other photo reference features the face more clearly.
Grid Method Using the lines of the grid squares as reference points, you can accurately position the features of your subject. Be sure to make the grid lines light because you’ll need to erase them when you finish transferring the drawing.
DECIDING WHAT TO KEEP
It’s rare that a reference photo turns out exactly how you’d like to render the subject. You’ll almost always want to add elements or leave objects out to improve the image, enhancing the most important features or altering the mood of the scene according to your taste.
Changing Your Photo In this reference of a Golden Retriever puppy (above left), I like the way the hand is holding the puppy, but the rest of the person’s body isn’t working for the composition. I decide to eliminate the human body, leaving a white background to soften the scene. The puppy’s coat is very light, so the darker hand provides an effective contrast. The pup’s right paw is blurry in the photo (even if you can hold a puppy still, inevitably at least one part will be moving), so I also sharpen this in the final drawing.
TRACING & GRID METHODS
Although freehand drawing is a good way to get to know the animal’s form and represent it accurately, the quickest way to achieve perfect accuracy is to use either the tracing or grid methods. Neither of these methods should be considered “cheating”: both are respected tools that have been used by artists for centuries. Using these methods will give you a perfect outline, but it is up to you to create the composition and final drawing with skill and technique. You also should never become too dependent on these methods; they shouldn’t replace freehand drawing. Remember that any distortions in the photo (for example, due to wide-angle lenses) will translate to your drawing; you’ll need to be prepared and willing to correct these distortions later.
Tracing Method Photocopy or print the image you wish to trace. (You may want to enlarge or reduce the image to the desired size.) Then tape a sheet of tracing paper on top of the image, and use a light table to help you carefully trace the outline of the animal, as well as the major facial features. If you don’t have a light table, you can create your own transfer paper. Turn over the tracing paper and cover the back with an even layer of graphite. Then place the tracing paper (graphite-side down) on top of your final drawing paper. Use an HB pencil and carefully go over the lines on the tracing paper; the lines will transfer to the drawing paper below.
Grid Method Make a photocopy of the reference photo, and then draw a grid of squares (1" × 1" is a good size to start with) on the photocopy. Next draw a corresponding grid on a piece of sketch paper. (Some artists draw their grids directly onto the final drawing paper, but I find this messy, and erasing the lines damages the paper.) Make sure both grids have the exact same number of squares, even if the squares are different sizes—this ensures correct proportions. Once you’ve created the grids, simply draw what you see in each square of the reference in each square of the second grid. Draw in one square at a time until you have filled in all the squares. Now use the tracing method described above to transfer the drawing to your final paper.
DRAWING FROM LIFE
To draw animals realistically, it is important to observe them and sketch them from life. By watching how the animal moves and relates to its environment and other creatures, you can better portray the animal’s character and appearance. Drawing an animal in the wild is difficult and possibly dangerous, so zoos, wildlife parks, animal sanctuaries, and rescue centers are the preferred source of subjects. If none of these are available to you, you can resort to a video, but this is a very poor second to seeing, hearing, and smelling the living creature.
Drawing on Location Author Linda Weil (left) sketches with her niece (right) at the San Francisco Zoo.
WHAT TO TAKE
Your kit can be as simple or as complex as you wish and are capable of carrying. Here’s a list of the items I always take when drawing on location:
1. A range of pencils (start with at least an HB and a 2B)
2. Sketchbook
3. Appropriate clothing and a hat
4. Insect repellent
5. Sunscreen
6. Water bottle
7. Pencil sharpener
8. Camera (if you’re drawing an animal you’ve never seen before or don’t have many references of)
9. Something to sit on (if you’re going to be in front of one animal for an extended period)
WHAT TO DO
1. Be prepared for uncooperative animals. It seems inevitable that whenever I go to study one particular animal, that is the ONE animal that is hidden all day or not on display. If I am after a particular animal, I have learned to always call first to ensure that the animal will at least be on display—whether it performs is a matter of luck. But there is nothing more frustrating than turning up on the one day of the year that the animal is getting its annual medical checkup and isn’t on view!
2. Be aware of the animal’s habits. Many animals are most active in the early morning or evening and will sleep out of sight in the afternoon. Is the animal nocturnal? If so, check with the keeper to find out the best time to view it, or arrange a private visit. Find out its feeding times and try to be there then.
3. Be patient. If the animal isn’t moving or visible when you arrive, wait a while. Animals operate on their own schedules, not yours, so be patient and you will be rewarded.
4. Be flexible. Patience didn’t work? Why not check out the animal next door? I guarantee you will see something interesting elsewhere if you keep your eyes open.
5. Expect an audience. People are always curious about what you are doing, especially children. If you are shy or hesitant about being watched, try to find a good spot that is discrete and out of the way. Some people will show great interest and ask questions about what you are doing. This is a wonderful opportunity for you to tell them about your artwork. If you are confident enough, give them your business card; you could be pleasantly surprised with a commission opportunity!
6. Be polite. Animals can be sensitive and shy, so don’t shout or tap on the glass or wave your arms to attract the animal’s attention. This can frighten the animal and make you look foolish, especially when the animal disdainfully ignores you! Also, don’t hog the best viewing spots. Share these with the public, especially children. Do all you can to encourage their interest and allow them to see what you have been watching so carefully.
DRAWING FROM NATURE
Sketching animals from life gives you a fresh approach to drawing that is spontaneous and original—every pose and composition you discover is unique! Creating a finished drawing on site has its disadvantages, however; you may not be able to stay on location for the duration of the drawing, and the light shifts as time passes, changing the shadows and highlights. And, of course, most animals are bound to change positions or even walk away as you work, making it difficult for you to capture a good likeness. Instead of trying to produce a final, detailed pencil drawing in the field, use a sketchbook to gather all the information you’ll need for a completed piece later. Work quickly and loosely, concentrating on replicating the animal’s general shapes, main features, gestures, and expressions. Practice using your whole arm to draw, not just your wrist and hand. Vary the position of your pencil as you stroke, and involve your shoulder in each movement you make. Then jot down notes to complete the information you’ll want to retrieve later. When it comes time for the final drawings, you’ll be surprised at how often you’ll refer to the notes you’ve recorded in your sketchbook!
Drawing at the Zoo The zoo is an ideal place for sketching a wide range of interesting animals. Before you begin to draw, take some time to observe their general proportions, as well as the way the animals move and how they interact with one another. The more you know about your subject, the more convincing your drawings will be.
Keeping a Sketchbook When you sketch from life to prepare for a drawing, be careful to take notes about the values, light, and the time of day, as well as any other details you are likely to forget. Sometimes you may want to take the time to more fully render a facial feature, such as an eye, and try sketching each animal from several different angles. Remember that no matter how much time you spend observing a subject, the impression in your mind will surely fade with time, so be as thorough in your notes as you can.
Starting with Basic Shapes Your sketches don’t need to be as fully developed as the drawings shown in the sketchbook above. Concentrate on training your eye to see your subject in terms of basic shapes—circles, ovals, rectangles, and triangles—and put them together in a rough drawing. For example, the sketch of the chimpanzee on the left started with a series of ovals, which were then connected with a few simple lines; the hands, feet, and facial features were merely suggested. The elephant portrait began with a circle, an oval, and rough triangular shapes; from that point, it was easy to sketch out the shape of the trunk and place a few strokes for shading to hint at the elephant’s form.